Catholic Artwork

The Virgin Mary Crowned

Wed, 15 May 2013 14:56:00 -0500

Artist: Jean Auguste Dominique Ingres (1780-1867)

The Virgin Crowned presents a contemplative view into the life of Our Lady. Wearing her crown as Queen of Heaven and Earth, she pierces the eye of the viewer with a visage of thoughtful sorrow.

The two focal points of light in the art painting, the face and hands, seem to contradict the title of the image. One would think that the typical artistic rendition of the Virgin Mary crowned would be a glorious display of light showcasing the glory, peace and tranquility of the Queen; but we only see sadness and little emphasis on the beautiful crown (other than enough light to let us know that it’s there).

What can be gathered from this almost contradictory Catholic art painting but a mixture of the glory of Mary as Queen and the pathos of Mary as Mother of Sorrows? She holds her hands gently, yet firmly, to stop the sinner from violating her Son’s will further. She holds her hands compassionately, yet humbly, as if to say that glory is not right now, not immediate, but only after the full race of life has been virtuously run. She holds her hands thoughtfully, yet mournfully, as to say that it was not her will to receive a brilliant crown, but it was the will of the eternal Trinity manifest in Jesus Christ.

And so she accepts the jeweled crown in all justice, humility and charity; yet the Virgin Queen reminds souls that it’s not over—we still have much work to do before earning our crown in heaven.

Visit our Catholic Art home page, or view a larger version of the image to buy in high resolution.

Christ Heals the Blind Man

Thu, 29 Dec 2011 12:44:00 -0600

Download High-Res Image of Jesus Healing the Blind Man by Carl Bloch

Download an Even Higher-Res Image of Christ Healing the Blind Man

With unprecedented realism and uplifting vision, Carl Bloch shows us the wonder of Christ healing the blind man.

Bloch displays many of life’s usual suspects in this painting. There’s the skeptic (red hat, on the left), the carefree child wanting to see where all the action is at (lower left center), the dutiful apostle restraining the child from interrupting the miracle (right of child), the hopeful-pious servant watching Jesus with a holy joy (right of Jesus), the fellow right behind the hopeful-pious servant observing the skepticism of the skeptic, and the two men on top of the wall who watch with expectation but got stuck in the nose-bleed section.

All the viewers watch and wait – permanently caught in the brush strokes of Carl Bloch.

One of the more popular themes for many artists, Jesus healing the blind man, has several references in the New Testament. One that appears most fitting for this painting comes from the Evangelist Saint Mark. Right before the passage on Jesus healing the blind man, He speaks to his apostles about “whosoever shall be the first among you, shall be the servant of all. For the Son of man is not come to be ministered unto, but to minister, and to give his life a redemption for many.” - Mark 10:44-45

To immediately practice exactly what He preaches, Jesus Christ shows an excellent example of “ministering”: He heals a blind man. One of the other neat things about this passage is that it actually refers to the blind man by name: Bartimeus, which is a Syriac word literally translating as ‘son of Timaeus’. People in the New Testament who are miraculously healed usually don’t have recorded names. Perhaps this is another reason why Carl Bloch decided to paint such a prominent scene.

Jesus Christ performing the miracle of healing the blind is an example of healing mankind of his spiritual blindness. Often it becomes simple to forget about the spiritual aspect of reality, to become ‘blind’ to what really matters. Jesus Christ is the one to remove our spiritual blindness in order for us to continue on the road to perfection. Hopefully, we can be like the blind and ‘leap up’ to directly follow Christ forever.

For the verbatim story of healing the blind man, Saint Mark tells it quite well, so we finish with his rendition of the story:

“And they came to Jericho: and as he went out of Jericho, with his disciples, and a very great multitude, Bartimeus the blind man, the son of Timeus, sat by the way side begging. Who when he had heard, that it was Jesus of Nazareth, began to cry out, and to say: Jesus son of David, have mercy on me. And many rebuked him, that he might hold his peace; but he cried a great deal the more: Son of David, have mercy on me. And Jesus, standing still, commanded him to be called. And they call the blind man, saying to him: Be of better comfort: arise, he calleth thee. Who casting off his garment leaped up, and came to him. And Jesus answering, said to him: What wilt thou that I should do to thee? And the blind man said to him: Rabboni, that I may see. And Jesus saith to him: Go thy way, thy faith hath made thee whole. And immediately he saw, and followed him in the way. – Mark 10:46-52

The Magnificat

Sat, 02 Jul 2011 14:31:00 -0500

Download a high-res version of this image

Originally painted as a watercolor, French artist and illustrator James Tissot captures the moment the blessed virgin Mary recites the Magnificat while visiting her relations Elizabeth and Zacharias (notice them looking on in the background).

The Virgin Mary raises her hands in a gesture of praise and prayer while reciting the Magnificat in response to Elizabeth’s statement:

“And blessed art thou that hast believed, because those things shall be accomplished that were spoken to thee by the Lord.

And Mary said: My soul doth magnify the Lord. And my spirit hath rejoiced in God my Saviour. Because he hath regarded the humility of his handmaid; for behold from henceforth all generations shall call me blessed. Because he that is mighty, hath done great things to me; and holy is his name. And his mercy is from generation unto generations, to them that fear him. He hath shewed might in his arm: he hath scattered the proud in the conceit of their heart.He hath put down the mighty from their seat, and hath exalted the humble. He hath filled the hungry with good things; and the rich he hath sent empty away.He hath received Israel his servant, being mindful of his mercy: As he spoke to our fathers, to Abraham and to his seed for ever.” – LK 1:45-55

Tissot was known for spending time in the Holy Land and painting a plethora of scenes from the life of Christ. What particularly sets him aside from other artists’ renditions of the life of Christ is his authenticity in displaying accurately the ethnic garb and customs that were in place while Christ walked the earth. Though this deviates from many of the typical Western-art depictions of the life of Christ, the viewer has the opportunity for a more historically accurate glimpse into the true visual appearances of the time.

Many of Tissot’s artistic renditions also reveal some never-before seen ‘footage’ of the life of Christ. Two paintings in particular demonstrate this concept: What Our Savior Saw from the Cross and The Virgin Mary in Old Age. The first depicts the crucifixion through the eyes of Christ, and the second depicts our Blessed Mother kneeling on Mt. Calvary at the hole where the cross of her Son once rested.

Download the high-res version of this image and other works of Tissot at Restored Traditions.

your blog is lovely, please post more! ♥

Sat, 09 Apr 2011 11:04:10 -0500

Thanks so much! I will try and get on that :) Patrick

The Madonna of Catholic Kings

Thu, 23 Dec 2010 12:20:00 -0600

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The Madonna of Catholic Kings, originally painted by early-Renaissance Spanish painter Fernando Gallego.

The Madonna of Catholic kings illustrates the Virgin Mary holding the child Jesus being adored by prominent Catholic figures around the time of the composition of this painting. Mary and Jesus, prominently sitting on an ornate throne and garbed in rich vestments, watch over and protect those who pray to them.

King Ferdinand V is kneeling on the left with St. Thomas Aquinas standing (holding the church); a young Don Juan kneels to the right of Ferdinand. Queen Isabelle is kneeling on the right with Saint Dominic above her, holding the lily and book.

A primary point to be drawn from the painting is the idea that authority comes from God first—then temporal and spiritual leaders. The King, Queen and Saints in this image all testify to the fact by showing the due respect to God and His mother.

A Jam-Packed High Mass

Wed, 21 Jul 2010 19:08:00 -0500

High Mass at a Fishing Village on the Zuyder Zee by George Clausen

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We like this image, because it captures an all too relevant theme for many Catholics. Many have been at a crowded Mass. Perhaps we think that it would be nice to have some more breathing room, or maybe that the person’s children two rows back should have been physically removed twenty minutes ago. On the flip side though, isn’t a crowded Mass a good sign of devotion? Something to be thankful for?

The central woman in the painting shows us the determination of a devout
soul to stay focused during Mass. Being the farthest removed participant, she
probably can’t even hear or see what’s going on in the Mass. She stands
and kneels when she sees those in front of her change positions. And,
probably because she can’t see or hear the Mass, she prays her rosary
to stay focused and devout. A small child leans up against her, gazing off
into space—much like many at her age seem to do.

This image can provide excellent inspiration for those relating to the over-
crowded Mass.

Download the high-resolution image of this painting.

http://4.bp.blogspot.com/_JnXd16RlK_c/S2yN43DyYTI/AAAAAAAAP0A/GpJgIW0lkE4/s1600-h/BABY+JESUS+sacred-heart-of-jesus.jpg

I have been looking for details on this image. Artist, etc. I would like to find a print of it. Any info?

Wed, 21 Jul 2010 18:02:08 -0500

I haven’t seen that one before but thanks for sharing! Good Luck.

Patrick

The Madonna of the Sacred Coat

Fri, 07 May 2010 11:21:05 -0500

Download the high-res image

The Blessed Virgin tenderly eyes the beholder with a smile for the Redemption her Son has won, but with the sorrow of the price He paid. In the center, the youthful looking Virgin clutches a brown coat. Due to her young appearance, it is probable that this portrait of the Mother Mary was meant to be well before the Passion of Jesus Christ—perhaps after she had just made the seamless tunic, which she knew would eventually suffer with her Son.

The Sacred Coat, which Our Lady holds in the painting, is referred to in Scripture:

“The soldiers therefore, when they had crucified him, took his garments, (and they made four parts, to every soldier a part,) and also his coat. Now the coat was without seam, woven from the top throughout. They said then one to another: Let us not cut it, but let us cast lots for it, whose it shall be; that the scripture might be fulfilled, saying: They have parted my garments among them, and upon my vesture they have cast lots.” John 19:23-24

The artist (Charles Bosseron Chambers) is said to have painted many of his religious subjects purely from imagination. He painted this rendition of the Madonna as an altar piece for Saint Ignatius Church, Chicago, where it still resides today.

The Prayer by Bouguereau

Tue, 13 Apr 2010 14:51:00 -0500

Download the High-Res Image

The innocence of a child’s prayer is captured in the life-like drama of Bouguereau’s exquisite style.

Some speculate that this particular rendition was meant, by the artist, to be the Blessed Virgin Mary as a child. Yet, since there is not even the faintest hint of a halo around the young woman’s head, it remains mere speculation as the Virgin is traditionally depicted with some form of a halo.

Regardless, this painting remains a classic manifestation of the physical beauty of Bouguereau’s subject and the metaphysical splendor of the theme:

Transcendence of the soul to God through prayer.

The Merciful Knight

Tue, 02 Mar 2010 13:26:01 -0600

Download this image in high-resolution

The Merciful Knight
by Edward Burne-Jones

Decked out in battle array, ready to fight to the death against all foes and cast with the fortitude of iron, the iconic knight kneels for his most gentle and humble King —Christ on the Cross. We notice an uncertainty, even a meekness of spirit, in the face of the knight. Is he feeling remorse for his sins? Is he truly terrified of the fight he will soon enter? Are these going to be his last moments of breath? Does the title Merciful Knight indicate that he has already shown mercy, or is the knight asking for the grace to show mercy to his foes at the proper time?

If we can interpret the look on his face as an act of charitable contrition and a plea for strength, then we can derive that the Knight will achieve his physical and spiritual goals. Jesus, coming down from the Crucifix in this wayside shrine, provides us with an artistic testament that His grace (working through us) will conquer all.

“And the God of peace crush Satan under your feet speedily.The grace of our Lord Jesus Christ be with you.” Romans 16:20

Our Favorite Lenten Image

Mon, 22 Feb 2010 11:12:00 -0600

Analysis of Antonio Ciseri’s Painting Ecce Homo

Download the high-resolution image of this painting

We’ve found this image (Ecce Homo – Behold the Man) to be helpful for meditation on the Passion. One of the reasons it is such an aid is because it leaves much for the imagination. Specifically, we don’t see the faces of Jesus or Pilate from the front (as is usually the case in art). Instead, we have a view from the rear of the scene, as if from the view of a roman servant in waiting.

What pulls the eye in right away, of course, is the central scene of Pilate displaying Jesus to the Jews and saying ‘Behold the Man.’ Even if the title of this painting wasn’t “Ecce Homo,” it’s still simple to derive that this is indeed the moment the artwork captures. Notice the motion of Pilate’s arm, pointing towards Christ, the crown of thorns barely visible on Christ’s head, and the exposed back indicating the recent flagellation.

When the eye wanders more through the painting, it will notice the most visible face in the entire image: that of the woman on the right. The look of anguish on her face, her outstretched arm embracing her friend (or servant perhaps) for emotional support—all indicate that this figure would be none other than the wife of Pontius Pilate.

“And as he (Pontius Pilate) was sitting in the place of judgment, his wife sent to him, saying: Have thou nothing to do with that just man; for I have suffered many things this day in a dream because of him.” Matt 27:19

If it was her explicit wish for her husband to have nothing to do with a just man, then her emotional pain displayed in the picture makes perfect sense. The moment Pilate begins to announce that he has tortured the Christ, her heart sinks as the realization truly sets in that her husband displayed cruelty to the just man, despite her warnings. She turns from his side and begins slowly withdrawing—the moment captured in this painting.

We can relate to the agony of Pilate’s wife by inserting how our own sins have caused the suffering of Jesus. The brilliance of the perspective of Pilate’s wife is that she, apparently, had no idea that Jesus was God or that he was dying for ours sins. If she had so much sorrow simply because she sensed that something was awry and unjust, imagine how great her sorrow could have been had she known the sublime and grim reality of what was happening before her eyes.

Download the high-resolution image of Ecce Homo

Why St. Cyril of Alexandria was a Trooper

Tue, 09 Feb 2010 15:45:00 -0600

After taking a look at the life of St. Cyril, it’s easy to see him as a man who always came into a situation with both barrels blazing. Seriously, Cyril took no prisoners. When he became Patriarch of Alexandria in 412, he “assembled a mob” that booted out a certain group of people who had been persecuting Christians in the area.

Before Cyril became Patriarch, he had to survive a riot that ensued due to a rivalry for the Patriarchy.

After Cyril became Patriarch of Alexandria, he went at it with the prefect of Egypt, Orestes, who thought Cyril was a rival to his authority and was also irate that Cyril kicked out of Egypt that certain group of people who had been persecuting Christians. Yes, you guessed it, a serious brawl ensued as a result of the conflict between Cyril and Orestes. 500 (yes, five hundred) monks came swinging out of the lower deserts of Egypt (Nitria) to defend Cyril. Can you imagine 500 men with big beards and worn-monastic habits storming into a fight against the Oreste’s soldiers? One word comes to mind: Fortitude. One of the monks actually beamed Orestes with a rock during the skirmish. Orestes had the stone slinging monk tortured; the monk died as a result. Cyril actually honored the remains of the rock lobbing monk for a time.

Cyril, in league with Pope Celestine I, is most known for intellectually duking it out with Nestorius, who was the Patriarch of Constantinople (present day Istanbul). At one point, the Emperor (Theodosius II) had both Nestorius and Cyril arrested. The emperor, however, cut Cyril loose after Papal Legates showed up on his doorstep saying that Pope Celestine endorsed Cyril’s condemnation of Nestorius.

So what was the big deal with Nestorius? Well, he promoted the heresy of Nestorianism, which says that “Mary was not the Mother of God since Christ was Divine and not human, and consequently she should not have the word theotokos (God-bearer) applied to her.”

Cyril was the bedrock for the third general Council of Ephesus in 431, which declared Nestorianism a Heresy. Oddly enough, a group of bishops that sided with Nestorius convened their own council after the one at Ephesus and deposed Cyril (this is the point where Cyril and Nestorius got arrested by the Emperor).

But the biggest reason why St. Cyril of Alexandria is a ‘Trooper’ is his doctrine, which has been quoted by multiple Church councils—Cyril has the title Doctor of the Church. Here is an excerpt from his book on the Divine Motherhood of Mary:

“In the third book of his work on the holy and consubstantial Trinity, our father Athanasius, of glorious memory, several times refers to the holy Virgin as “Mother of God.” I cannot resist quoting his own words: “As I have often told you, the distinctive mark of holy Scripture is that it was written to make a twofold declaration concerning our Savior; namely, that he is and has always been God, and that for our sake in these latter days he took flesh from the Virgin Mary, Mother of God, and became man.”

We chose this quote because it ties Saints Cyril and Athanasius together, which are the two Saints who appear in the icon we have on our Website.

St. John Lateran's by Piranesi

Tue, 02 Feb 2010 13:26:00 -0600

The featured image this week is called “St. John Lateran’s” by Giovanni Battista Piranesi. This particular image is a photograph of an an antique, hand-colored engraving. In this case, we wanted to leave the look of the original image intact as much as possible. This is why it still has an overall ‘brown’ look and also why you can see the plate marks around the border of the image.

Top 25 Catholic Images of Antiquity

Wed, 27 Jan 2010 17:49:00 -0600

For several years now, our Website users at Restored Traditions have favored the following 25 images of Catholic artwork. Click on any image to download it in high-resolution. Enjoy!

Cowboy Praying the Rosary by Don Smith

The Prayer by Bouguereau

Jesus My Lord, My God & My All

The Bread of Life

The Elevation

Thy Will be Done by C. Bosseron Chambers

St. Therese Visiting the Holy Family

Madonna & the Child Jesus by Sassoferrato

Queen of Angels by Bouguereau

L’Innocence by Bouguereau

Song of the Angels by Bouguereau

Our Lady of Mt. Carmel

Christ the King

Christ at 33 by Hofmann

Come Unto Me by C. Bosseron Chambers

Our Lady of the Rosary by C.B. Chambers

Our Lady of the Bowed Head

The Sacred Heart

The Immaculate Heart by C.B. Chambers

The Sacred Heart by C. Bosseron Chambers

The Immaculate Heart by Zabateri

Ecce Homo (behold the man) by A. Ciseri

Compassion by Bouguereau

It is Consummated by C. Bosseron Chambers

The Resurrection by Carl Bloch

The Refuge of the Shepherdess in the Crucifix Shrine

Mon, 25 Jan 2010 08:42:00 -0600

The featured image this week is called ‘Refuge’ by an unknown artist. The beauty of this image is the three messages that are portrayed. The young shepherdess has sought physical refuge within the protection of the Crucifix shrine. Christ on the Cross watches over her spiritually (protecting her from the storms of life) while, at the same time, affording her physical protection from the raging storm. Finally, she clutches closely a white lamb in her arms, the lamb being a figure of the Christ referenced multiple times in the Old & New Testaments.

“I am Alpha and Omega, the first and the last, the beginning and the end. Blessed are they that wash their robes in the blood of the Lamb: that they may have a right to the tree of life, and may enter in by the gates into the city.” Apocalypse 22:13-14 Source

35% off Today & Friday Only

Thu, 14 Jan 2010 12:04:10 -0600

It really says it all in the subject line. Any image, any size. Visit us by clicking on our link in the column or RestoredTraditions.com (if you’re the sort of person that likes typing the url in).

Who We Are (Restored Traditions)

Mon, 11 Jan 2010 19:46:00 -0600

My name is Patrick. I’m the marketing director, content developer and official coffee-break coordinator for Restored Traditions.

What we Do:

Simply put, our purpose is to restore old-school, Catholic artwork and make it available to everyone for instant download (no, we don’t sell prints or canvas, just re-arranged ones and zeros..correction, we offer a print-on-demand option for those who like fine-art prints and stretched canvas). For a wee-little fee, you can purchase downloads from us in varying degrees of resolution. The wee-little fee is for those of us who do this job full time—we like food.

Naturally, the watermarks on the images on our site do not appear on what you buy and download. Oh, and if you just need thumbnails then, by all means, pirate away.The image downloads are in high quality, JPEG format. Yes, we all know the saints would probably only work with TIFF files, but our e-commerce software doesn’t support that format. ggrrr.

We don’t charge any kind of licensing fees for our images, because they are all in the public domain. We do photograph, scan and digitally enhance/ restore images as needed though. This means you can use our stuff for whatever you like (commercially and privately) without paying a dime to us other than the download fee.

How We’re Different:

(business nerds call this the unique selling proposition)

1. We save you time from finding images;

2. In a lot of cases, you’re not going to easily find our images in the degree of high resolution that we have them;

3. Many of the images on our site, you just wont find;

4. Every image on our site is digitally enhanced, which is backed by a money-back guarantee policy. We actually take the time to remove blemishes, balance color tone, and all that other fun jazz;

5. You won’t find the same amount of old-fashioned, Catholic artwork available under the same roof online (great, I opened my big mouth. now someone is going to start another similar site just to prove me wrong).

Who’s working here:

There are four of us working on the Restored-Traditions project.

The Brain — Old-Man Dudley. He provided the start-up money and gives birth to new ideas in his special, OCD fashion.

The Art Geek — Andrew. We consult with him for anything artistic (he got a degree in it) like art periods, artists, graphic design and color schemes.

The Photographer – Mary. Well, she’s the photographer (she got a degree in it).

The Writer – Patrick. Yes, you’re reading some of his work (he got a degree in writing).

Hit us back with any of your feedback or special images you may need. If it’s Catholic art and old school, we want it on our site.

Visit our site (listed on the right) or contact me direct:

(785) 437-2959

patrick@restoredtraditions.com

Tips on Printing & Framing

Mon, 11 Jan 2010 19:03:00 -0600

Printing quality art images on your inkjet printer involves a careful balancing act between the type of paper you use, your printer’s settings and your screen-resolution settings.

In many cases, however, a few test prints of the high-resolution image and classic trial-and-error will be your best education for.

We will not attempt to delve into the nuances of individual printer specifications, other than universal applications that apply to most ink-jet printers. We will, though, spend more time in this article speaking of the different types of looks and effects you can achieve simply by changing the type of paper you use.

Printer Inks:
The ink in your printer can be just as vital as what your are printing, and what you are printing on. It is the ink that will determine the two most important things for your fine-art print: color tone and longevity.

Regarding longevity, printer inks come in two flavors—dye and pigment. In an ever-small nutshell, dye inks tend to be more vibrant but fade more quickly; pigmented inks are derived from organic compounds and, therefore, have a much longer color life but tend to be not as vibrant as dyes. Pigmented inks, for example, are the type used in the Giclée (ghee-clay) printing process, which is a more expensive but a far superior printing method for fine art.

Regarding color tone, the more color cartridges you have in your printer, the better your color will be regardless of whether you are using dye or pigmented inks. For example, if you have a printer with only two ink cartridges (black and tri-color), your resulting color will be less true than if you have a printer with four ink cartridges (one black and three colors). And so the quality (and price) improves once you have six, eight, nine or twelve cartridges. However, for most home-use purposes, we recommend (from our experience) that a printer with four ink cartridges works adequately.

Printer Papers:
The most popular option for printing art is photo paper, which comes in two flavors: glossy and matte. Glossy-photo paper delivers enhanced color and sharpness but, due to its shiny surface, smudges easily. Also, with certain images in particular art styles, glossy can draw away from the original feel of a particular painting or image. For example, the artwork of Caravaggio, which is dark in nature, looks almost tawdry on glossy-art paper. It is our opinion that it is more true to the original brush of Caravaggio when a matte paper is used for printing his artwork. In your particular case, you may simply want to experiment printing the same image on glossy and matte to determine the winner.

One of our favorite papers to use is photo-rag paper. For a paper to qualify as ‘rag’ it has to be made of cotton. The advantage of a cotton-based paper is that it’s archival and lasts much longer than photo paper. Remember those pictures of yours from the 90s that are already starting to fade or yellow? Yes, photo paper fades more quickly unless it’s carefully preserved. The added perk of rag paper is that it strikes a wonderful balance between the color-tonality issues of glossy vs. matte photo paper. Rag has an excellent vibrancy to it—not quite as high as glossy, but much more than matte paper.

Rag, like photo paper, also has some extended family. There’s ‘warm’ and ‘cold’ rag. Warm is better for pictures of people, while cold is better for pictures of landscapes. Texture is the next item. There’s very fine and more coarse rag papers, which provide a texture. Texture on the paper is a nice artistic touch, but it can slightly distort image detail. Really, it depends what your preferences are and how much intricacy is in the particular image.

Professional Printing:
If you don’t want to print yourself, there are an ever growing number of places online and off that provide printing services. As long as you have your high-resolution image on a flash drive, CD, or DVD, you can take it to your local photographer’s shop and they can walk you through your custom-print options. Finally, many major retailers offer in-house printing services.

Visit our art tips page for more pointers and ideas of what to do with high-res images.

The Standard—Art Download

Mon, 11 Jan 2010 18:36:00 -0600

Download in high resolution for free.

The featured picture this week is an image of an antique engraving entitled “The Standard.” The courage of the Catholic priest is superbly displayed in this image. The rage of a battle is howling all around, while the priest fearlessly helps move a wounded soldier. Why this artwork is called “The Standard,” one can only speculate. There is no visible ‘standard’ in the image so, perhaps, the intention of the artist was to display ‘The Standard’ of charity—caring for our fellow man for the sole purpose of bringing glory to God.

And thanks to someone’s careful observation, this image is probably called ‘The Standard’ because of the flag the soldier is carrying in the center. Totally missed that one…

Photo

Thu, 07 Jan 2010 15:32:55 -0600

Catholic Artwork

The Virgin Mary Crowned

Christ Heals the Blind Man

The Magnificat

your blog is lovely, please post more! ♥

The Madonna of Catholic Kings

A Jam-Packed High Mass

http://4.bp.blogspot.com/_JnXd16RlK_c/S2yN43DyYTI/AAAAAAAAP0A/GpJgIW0lkE4/s1600-h/BABY+JESUS+sacred-heart-of-jesus.jpg I have been looking for details on this image. Artist, etc. I would like to find a print of it. Any info?

The Madonna of the Sacred Coat

The Prayer by Bouguereau

The Merciful Knight

Our Favorite Lenten Image

Why St. Cyril of Alexandria was a Trooper

St. John Lateran's by Piranesi

Top 25 Catholic Images of Antiquity

The Refuge of the Shepherdess in the Crucifix Shrine

35% off Today & Friday Only

Who We Are (Restored Traditions)

Tips on Printing & Framing

The Standard—Art Download

Photo

http://4.bp.blogspot.com/_JnXd16RlK_c/S2yN43DyYTI/AAAAAAAAP0A/GpJgIW0lkE4/s1600-h/BABY+JESUS+sacred-heart-of-jesus.jpg

I have been looking for details on this image. Artist, etc. I would like to find a print of it. Any info?